| Welcome to BandMusic. We hope you enjoy your visit. You're currently viewing our forum as a guest. This means you are limited to certain areas of the board and there are some features you can't use. If you join our community, you'll be able to access member-only sections, and use many member-only features such as customizing your profile, sending personal messages, and voting in polls. Registration is simple, fast, and completely free. Join our community! If you're already a member please log in to your account to access all of our features: |
| James Barnes; Music Pieces By James Barnes | |
|---|---|
| Topic Started: Nov 15 2004, 03:21 PM (502 Views) | |
| kwan | Nov 15 2004, 03:21 PM Post #1 |
Secretary
  ![]](http://209.85.48.14/static/1/pip_r.png)
|
As a member of the Theory-Composition faculty at the University of Kansas, James Barnes teaches orchestration and composition courses. His numerous publications for concert band and orchestra are extensively performed in the United States, Europe, and the Pacific Basin. His works have been performed at Tanglewood, Boston Symphony Hall, Lincoln Center, Carnegie Hall, and the Kennedy Center in Washington, DC. Barnes twice received the coveted American Bandmasters Association Ostwald Award for outstanding contemporary wind band music. He has been the recipient of numerous ASCAP Awards for composers of serious music, the Kappa Kappa Psi Distinguished Service to Music Medal and the Bohumil Makovsky Award for Outstanding College Band Conductors, along with numerous other honors and grants. The world famous Tokyo Kosei Wind Orchestra has recorded three CDs of his music. Mr. Barnes recently completed a new CD of his works with the Koninklijke Militaire Kapel (The Queen's Royal Military Band) in Holland. In recent years, he has been commissioned to compose works for all five of the major military bands in Washington, DC. A recent CD by the United States Air Force Band features his Third Symphony. Mr. Barnes has traveled extensively as a guest composer, conductor and lecturer throughout the United States, Europe, Australia, Japan, and Taiwan. He is a member of the American Society of Composers, Authors and Publishers (ASCAP), the American Bandmasters Association and numerous other professional organizations and societies. Since 1984, his music has been published exclusively by Southern Music Company of San Antonio, Texas.  ----------------------------------------------------------------------------------- http://www.ku.edu/~sfa/mad/faculty/barnes.html |
 |
 
|
| kwan | Nov 15 2004, 03:21 PM Post #2 |
|
Secretary
|
Autumn Soliloquy We deviate from our theme of overtures to present this delightful tone poem by James Barnes. He composed it as an oboe solo with wind orchestra accompaniment and dedicated it to Susan Hicks Brashier. It is quite different from most of his music, which is powerful and energetic. The piece begins with a melancholy oboe solo and a one line melody on a horn in the background. The clarinet and bassoon then have a turn with the melody. In the moderato, the other instruments of the ensemble, including the vibraphone and bass clarinet, produce an ethereal, shimmering sound. An oboe cadenza catches one's notice as the swirling chill wind of Autumn. The colors of sound of the woodwinds and brass indicate the changing in the colors of the leaves. There is a last burst of brilliance and excitement before the oboe once again sings in a plaintive cadenza. Recalling the initial theme before retreating, the horns introduce a pyramid of ensemble sounds to bring the piece to a quiet ending. ------------------------------------------------------------------------------------------------------- http://www.windband.org/foothill/pgm_note/notes_b.htm |
|
|
|
| kwan | Nov 15 2004, 03:23 PM Post #3 |
|
Secretary
|
Third Symphony Third Symphony was commissioned only a few years ago by the United States Air Force Band. The four-movement work was inspired by the tragic death of the composer’s infant daughter. Progressing from despondency and despair in the first movement, to hope and trust in eternal life in the fourth, each movement develops around one or two central themes and some of the movements are linked to each other through blatant statements of principal themes or variations of it. The opening is a slow and dark expression of pain, expressed through bitter-sounding chords and sharp contrast in styles. The main principle theme, a rhythmic figure in the tonality of C, is stated on the timpani. It is this theme that recurs in all the movements from time to time. This theme gives way to a passage for solo tuba, uncertain in its approach; this uncertainty is continued in the ensuing cor anglais solo. In between sections of eruptive music and a giant orchestral tutti, this uncertainty is further questioned by the flute and finally, towards the close of this movement, by the alto flute. The second movement is a satirical view of the world, which Barnes thought, in his darkest times, was full of deception and merited contempt. Barnes chooses a dark F minor setting for his second movement Scherzo, abound with influences from Bela Bartok and Sergei Prokofiev. Here Barnes displays his skill in writing music in sections, from exhibiting the nervous and light-hearted nature of the double reeds to exploring the rich sonorities offered by the saxophones. Sarcasm and wit is the stuff Scherzos are usually made of, and the central rhythmic theme in this movement is actually derived from the timpani statement in the first movement. The third movement, subtitled For Natalie, is a chorale, soft and passionate, depicting what the composer thought his life would have been had his daughter lived. This movement is a huge orchestral lament for the death of his beloved Natalie, who was still an infant when she died. Barnes injects his own personal experience in dealing with this loss throughout this whole movement. From feelings of despair to perhaps what could be seen as renewed hope in life… The fourth movement, Finale, makes use of a Lutheran church hymn “I am Jesus’ Little Lamb,” which was sung at Natalie’s funeral. In this finale the composer suggests that there has been reconciliation and a rebirth of spirit and dedicates this movement to his son, who was born three days after the completion of the work. An exciting fanfare by the horns announces the start of the movement, later given a virtuositic treatment by the horns and flugelhorns and subsequently by the whole wind ensemble. Here the timpani statement is heard yet again, on the trumpets, but in a major key, adding to the hope and jubilation already abound in this movement. The symphony resolves to end on a C major tonality, giving a brilliant finish to this magnificent work. --------------------------------------------------------------------------------------------------------------- http://www.usna.edu/USNABand/biographies/BarnesBio.htm |
|
|
|
| kwan | Nov 15 2004, 03:29 PM Post #4 |
|
Secretary
|
Fantasy Variations, On a Theme by Niccolo Paganini This tour de force is based on the famous 24th Caprice by Niccolo Paganini which has been used by many composers including Brahms and Rachmaninoff. The work was done on commission from the U.S. Marine Band and it features every section of the band on one of the twenty variations the composer used. There is even one for percussion only which is fun to play and will keep a large section on its toes. I have found a few of the very slow variations to be somewhat tedious and difficult to make musically interesting for the audience. It is possible to cut a variation or two if you find the work too long. This edition has no cues in the parts and if you need to cover the Eb contra alto clarinet or English horn solos with another instrument, you will need to write out the parts. The 22 bar introduction is followed by the oboe statement of the theme leading into variation I. This is a full bodied statement of the theme with a few embellishments. Variation IV features flutes and piccolos in a sparkling display of dexterity. Variation IX features bass clarinet and bassoons along with some interesting French horn background. We found variation XI for cornets and trumpets one of the most exciting sections of the composition. Variation XVI is highlighted with a beautiful English horn solo which you could score for alto saxophone if you do not have the English horn. The final variation (XX) serves as a recapitulation of the theme for the full ensemble. I find especially noteworthy the detailed indications in the parts and the score such as pull mutes, release snares, etc. In the percussion variation the composer has worked out every detail of the "road map" each player must take. This most worthwhile addition to the concert band literature is one which every grade V & VI band should have in its library. It's a work you can keep in the folios and use any extra rehearsal time to read sections of for your band's enjoyment. If you never have the opportunity to perform the entire work in concert, it will still be worth the joy of having been exposed to a most interesting treatment of this famous Paganini Caprice. --------------------------------------------------------------------------------------------------------------- http://www.music.vt.edu/outreach/vmea/1990...no1/review.html |
|
|
|
| kwan | Nov 15 2004, 05:40 PM Post #5 |
|
Secretary
|
Wildwood Overture Although Wildwood Overture is an easy selection for younger bands, it has the same dramatic style, interesting counterpoint and good bass lines that are characteristic of Barnes' works, utilizing melodic material in all sections of the band, including low brass. With only two each clarinet, trumpet, horn and trombone parts and easy percussion parts, this composition has been carefully scored and cross-cued to be performed by any size band. (09/97) ------------------------------------------------------------------------------------- http://www.smcpublications.com/catalog/music/band/s714.htm |
|
|
|
| kwan | Nov 15 2004, 05:41 PM Post #6 |
|
Secretary
|
Golden Festival Overture Commissioned to celebrate the 50th anniversary of the establishment of the United States Army Field Band, Golden Festival Overture is the perfect opener for any concert or contest situation. Scampering woodwinds, brilliant brass fanfares and flowing melodies fill the work with the sort of vigor and energy that is so characteristic of a "Barnes Overture." (6/97) |
|
|
|
| kwan | Nov 15 2004, 06:56 PM Post #7 |
|
Secretary
|
Yorkshire Ballad Yorkshire Ballad is a three-part setting of a folk-like melody. The primary theme of the piece is constructed from four phrases juxtaposed into one melody. Each statement of this melody is introduced by a different group of instruments. The first statement begins softly, primarily with woodwind voices, and builds to an emotional climax with the addition of the brass and percussion at the conclusion of the third statement. The piececoncludes in a quiet and relaxed fashion. |
|
|
|
| kwan | Nov 15 2004, 07:10 PM Post #8 |
|
Secretary
|
Symphonic Overture Undoubtly one of the most commonly played pieces all around the world and one of Barnes' best works besides Third Symphony. The brilliant overture starts off with a grand opening of fanfare from the brasses. The tension mounts as the Saxaphones and Clarinets have their running notes and the fanfare is proceeded with a sweet melody which can be heard throughout the first and the last part of the piece. the melody starts off with an oboe solo, then the woodwinds. The grand opening then slows down to a beautiful slow passage where the saxaphone and euphonium hogs the limelight- twice. The beautiful slow passage quietens down and dissolves into nothingness not long before the wondrous woodwinds add very interesting colours to the piece. The same melody from the beginning then resumes, this time taking more shape, before it breaks to the fanfare right from the beginning. Tension is built up as the accompaniment collide one another and chaos is depicted in the 'explosion' towards the end of the piece. The piece ends in a very,very grand and majestic major chord. |
|
|
|
| kwan | Dec 1 2004, 12:42 PM Post #9 |
|
Secretary
|
The Silver Gazebo, James Barnes, Grade 3. Written for "all my friends in the Lawrence (Kansas) Civic Band," this very melodious traditional march conjures visions of the heyday of the great town bands in Mid-America. The "Silver Gazebo" is the Kelly Bandstand in South Park, where the Lawrence Civic Band has been performing every summer since 1878. ----------------------------------------------------------------------------------------------------------------------- http://www.smcpublications.com/catalog/music/band/s688.htm |
|
|
|
| Matt87 | Dec 3 2004, 12:31 AM Post #10 |
Administrator
|
Got Alvamar? i want to read more about it.. thanks |
|
|
|
| priscilla1986 | Dec 3 2004, 10:03 AM Post #11 |
|
hello matt,i think i got..must search ah....anyway if other ppl got then ask them post here lor..=] |
|
|
|
| kwan | Dec 5 2004, 01:00 AM Post #12 |
|
Secretary
|
Alvamar Overture Gigantic in structure, with fabulously rich and lavishly orchestrated thematic material, this work ranks on a grand scale within the repertoire of the modern-day concert band. Every line is interesting and every player is equally challenged in this bravura work. While not for the timid, Alvamar Overture offers rehearsal and performance rewards worth the effort of preparation. ------------------------------------------------------------------------------------------- http://www.musicnotes.com/sheetmusic/book....LJG82661L079266 |
|
|
|
| kwan | Dec 8 2004, 12:00 AM Post #13 |
|
Secretary
|
Prelude and Fugue in D Minor (BWV 554) for tuba-euphonium ensemble, by Johann Sebastian Bach, arranged by James Barnes. This is a very well written arrangement of a piece that works well for euphonium-tuba ensemble. I shudder sometimes when I see the word "fugue" in a euphonium-tuba ensemble piece. This is due to both the resonant nature of our instruments and, especially, to the live hall in which my ensemble performs. For these reasons fugues often sound very mushy or jumbled up when played by a euphonium-tuba ensemble. This piece successfully overcomes these obstacles. The instrumentation is for an octet of four euphoniums and four tubas, but allows for doubling parts in a larger ensemble. The euphoniums all need to go up to high A above middle C comfortably and the firsts go up to high B-flat. The first two tubas are designated as "high tubas" and the other two as "low tubas." The high tubas aren't particularly high. They do go up around the high B-flat at the top of the staff a couple times, but are mostly in the lower part of the staff. The low tubas have a couple optional low D's (five ledger lines), but play mostly from the bottom of the staff down to low F. This arrangement works well because everyone gets to play some of the melodic material and the tempo and rhythms are slow enough that harmonic backgrounds are clear and individual voices don't cover each other up. There is a fair amount of doubling between parts so that eight distinct voices aren't present most of the time. Except for good upper range control in the euphoniums and high tubas, there is nothing very difficult about this arrnagement. The piece lasts about six minutes. The score comes with informative program notes and very helpful performance suggestions. It is a good piece for either a high school or college ensemble and won't demand a lot of rehearsal time. There is nothing flashy about this piece, but it will still show off the strengths of the euphonium-tuba ensemble to good advantage. ------------------------------------------------------------------------------------------------ http://www.trombone.org/articles/library/p...ubaeuph-rev.asp |
|
|
|
| nick_fl | Apr 4 2005, 11:28 PM Post #14 |
|
Appalachian Overture |
|
|
|
| bent | Apr 7 2005, 10:08 PM Post #15 |
|
regarding Fantasy Variations, if dun have contrabass clarinet, which ins shud best play the solo? Transpose to Bb bass clar or use Eb baritone sax? |
|
|
|
| « Previous Topic · Compositions Corner · Next Topic » |
1:50 AM Nov 9
